The 1997 Film Adaptation Of Lolita

Craig Gillespie’s Lars and the Real Girl is a comedic drama that follows Lars, a sweet, yet socially inept young man, whose childhood has deeply affected his personality and ability to engage in social relationships. In an attempt to feel belonging and experience loving relationships, he purchases Bianca, a life-sized doll online. Lars journeys through dependence on Bianca for a sense of belonging and warm relationships, to engaging in ‘real-life’ relationships. The film illustrates Lars’ personality using Abraham Maslow’s humanistic conception of personality and Hans Eysenck’s trait conception.

At first glance, one might find it difficult to draw comparisons between the two protagonists: James Gatsby, from The Great Gatsby, and Humbert Humbert, from Lolita. Gatsby’s is the tragic story of a self-made man who built himself an empire for a woman who would never love him. Humbert Humbert, on the other hand, is a manipulative and witty pervert who lusts after the vulgar nymphet, Lolita. Both men are extremely similar in one key aspect, however. Both Gatsby and Humbert have idealized an encounter from their youth and that idealization has become a driving obsession in each of their lives.

In Hollywood films, the main protagonist of mostly all film are males showing how strong, smart, and how they are the perfect hero, yet woman are seen as the damsel in distress, soft, and weak. Women are seen as the girlfriend, the wife, or the mother. The value of the woman in films is determined by their male counterparts and their overall outer appearance. In movies women are seen as the same with all women are ditzy, dependent on someone, they need someone to hold their hand also that woman are too emotional, yet there are movies that show women as strong and dependent. Movies with female leads are growing and they show how woman are just as strong as male leads. Yeah, many women are strong in their own way; I know I sure am.

The plot concerns a young lawyer named Newland Archer, played by Daniel Day-Lewis, who falls in love with divorcee Ellen Olenska, played by Michelle Pfeiffer. Archer also happens to be engaged to Olenska’s cousin May Welland, played by Winona Ryder. Given Scorsese’s involvement with the project, one might assume the film is a revisionist take on Wharton’s novel, similar to his take on MGM musicals with New York, New York, or at the very least feature instances of amped-up language, sexuality, or violence. But his Age of Innocence is as straightforward as period romances get, resulting in a lush drama where no blood is shed, “hell” is uttered once, and cigars are favored over cocaine. At first glance, it’d even be hard to watch the film and believe that Scorsese had directed it. The film was a minor box office failure, just failing to recoup its $34 million budget with only $32.3 million at the box office. Critically, the film received many positive notices, with The New York Times writing that Scorsese had “made a gorgeously uncharacteristic Scorsese film… the work of one of America’s handful of master craftsmen” and Time Out praising the way he “employs all the tools of his trade to bring his characters and situations vividly to life.” Bearing a PG rating for “thematic elements and some mild language,” The Age of Innocence is seemingly no different in it’s approach to the genre than countless other period dramas of the day, such as The English Patient (Anthony Minghella, 1996), Sense & Sensibility (Ang Lee, 1996), or The Remains of the Day (James Ivory, 1993). But watching the film with an understanding of Scorsese’s general filmmaking tendencies, it’s easy to understand why he would be drawn to this particular adaptation for his first foray into the genre. Though not as

Eric Goldman argues that while Humbert attempt to make Lolita into a sexual deviant that corrupted him, Nabokov instead, suggest that she is a normal female that is experimenting with her sexuality. He starts with explaining Humbert attempting to make Lolita in a sexual deviant, then he states that after its publication “many of the critics Humbert Humbert’s misogynistic interpretation of Lolita” (Goldman 87). Goldman believe that Lolita “sexual development is warped by a maniacal, myth-making pedophile” (88). Humbert makes Lolita into a deviant to justify his behavior towards her.

One of Nancy Oliver’s movies, Lars and the Real Girl, directed by Craig Gillespie, was brought into theaters in 2007. This movie has a multiple amount of lessons or purposes, such as, acceptance, realization of reality, and love. The main plot is when the whole community chooses to accept and treat Bianca, a doll, just as Lars. Lars is played by Ryan Gosling in this film. During this, Karin, played by Emily Mortimer, is very accepting, but Gus, portrayed by Paul Schneider, is disgusted with his brother’s, Lars, actions. In the story, Bianca visits the doctor on a regular basis because she has health issues per Lars. While Bianca is at the doctor, Lars is undergoing therapy. Lars had no idea that he was getting help.

Creed, B. 1999. Horror and the Monstrous-Feminine: An Imaginary Abjection. Feminist Film Theory, a Reader, edited by. Sue Thornham. New York: New York U P.

Cléo from 5 to 7, directed by Agnes Varda, is a film about one woman’s struggle to come to terms with the possibility of her potential illness. Not only is Cléo struggling with her physical health, but she is also dealing with her beauty and the consequences of being an attractive woman in the modern world of the 1960s. When examined through the lens of Laura Mulvey’s “Visual Pleasure and Narrative Cinema” theory, another aspect of the film comes to light. The film seems to objectify Cléo and thus trivialize her struggles with others’ perceptions of her throughout the film by adhering to the construct of the male gaze. Although Cléo from 5 to 7 appears to play into the construct of the male gaze through the repeated objectification of Cléo, it actually subverts this idea and instead confronts the viewer, and the notion of women as passive objects to be viewed.

A burden or hardship a client can be abiding is being compelled to follow a worldview that does not fit their beliefs. Maybe this client was unaware of their “inner truth” until they were able to attend a different religion/spirituality or had a spiritual awakening. In the Marianist film, Brandon discusses his choice in becoming a Marianist contact and furthering his process with the Marianist community (Marianist, 2007). How this view aligns mine is by the video holding the beliefs that “you will not know until you try”. In the clip, Brandon states how he did not believe he would be the right fit for this society, however, when he continued his education at this college, he realized how welcoming the educators were, which sparked his interest

For this reaction paper, I decided to pick the movie that I related to most in the class. Frida is an inspiring, passionate, and informative movie. This movie tells the biography of Frida Kahlo, who was born in 1907 in the city of Coyoacan, Mexico. The film starts with a horrible accident, when Frida was 18 she was on a wooden-bodied bus that collided with a streetcar. She was impaled by a metal pole and she faced challenges from the injury for the rest of her life. I believe that Frida's accident shaped her personality by making her more persistent with everything she does. She never backed down from a challenge, which created a feminist state of mind around her thoughts. She also gained a great deal of independence and didn't rely on anyone. Frida didn't follow into the typical gender roles and norms in their society.

Lauretta, "It seems that the film about Jesus will always be influenced not just by the producers/writers/actors but also by the anticipated audience response." This is something I relate to because, if we are giving a speech to an audience we are told to consider the audience when preparing our speech. Is this what Donald Trump is doing? His comments seem to be very extreme and therefore he gets a lot of media coverage. Have you ever noticed sometimes before a new movie comes out or before new pop music artist releases something new, there is leak of a nude photo or some minor run in with the

Another film we watched this semester was Michael Powell’s 1960 film, “Peeping Tom”. “Peeping Tom” is about , to put it very very basically, a photographer, who got messed up by his father’s experiments as a child, starts killing women and becomes fascinated with their “death faces”, if you will. The film similarly repeats the monster troupe of women with sexual prowess being a threat to society, as in Dr. Jekyll and Mr. Hyde. This is evidenced by every women with sexual being in the film being killed however,Helen, the only one without any sexual being what so ever, gets to survive. It also goes into how parents can mess your child up and everything ( much like it’s American Brothern “Psycho”).

Like most popular gender-bending films, Some Like It Hot calls us to critique constructions of sexuality and gender both within the context of historicized moment of the films production and from the perspective of later

Arthur Schnitzler was an Austrian novelist and playwright who wrote about lust and infidelity in twentieth century Vienna. His narrative, “Dream Story”, was first published in 1925. The story tells of a married couple living a comfortable lifestyle. The husband is a thirty-five-year-old doctor. The younger wife is occupied by her responsibilities as wife and mother. In 1999, Stanley Kubrick released Eyes Wide Shut, which is his adaptation of Schnitzler’s “Dream Story”. In Kubrick’s film, Schnitzler’s protagonists, Fridolin and Albertine, are renamed Bill and Alice Harford. The similarities between Eyes Wide Shut and Schnitzler’s “Dream Story” is astonishing. The film’s narrative is updated from turn of the century Vienna to present-day New York, however the plot of the novella remains intact. In both stories, a wife tantalizes her husband with erotic reminiscences of her desire and lust for another man. As a result, the envious, resentful husband sets out on a nightly excursion to try and alleviate his damaged dignity and to fulfill his unsatisfied sexual desires. The plots of both works are approximately the same, with only a few alternations affecting how the audience views the film. Kubrick integrates changes to the novella in order to clarify the film. Thesis?

Frida is a 2002 film by Julie Taymor that mirrors the life of esteemed artist Frida Kahlo. The first scene of the movie serves only to foreshadow the last scene of the movie, depicting Kahlo lying on bed, being loaded onto the back of a truck. The movie then flashes to the Kahlo’s younger days in 1922 when she was around fifteen years of age. She is shown in a school where she gathers friends to watch Diego Riviera work, this yet again portrays an important facet of Kahlo’s future. We then learn of Kahlo’s relationship with a boy named Alex, a both Physical and emotional relationship. A following scene shows Frida admiring the photos of a photographer who is shortly revealed to be her father. In true fashion Frida is then seen observing a mural on the walls of the school. Alex comes to get her before the two miss the bus, shortly after the film shows Alex and Frida catching up to a bus and jumping on. When the bus they are on passes another the two busses collide and the bus holding Kahlo is propelled into the side of a stone building, breaking a multitude of her bones, and leaving her in a sleep state for three weeks. The doctors inform Frida and her family that she will most likely not walk again and it is a miracle she survived. When Kahlo is released from the hospital we get the first glimpse of Frida creating her own art, and see her heart being broken when Alex informs her he is leaving. Kahlo then begins to fill her cast with paintings of butterflies. When she is